Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at

**Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it.[AK]

MERCH MEGAN (Megan’s Fair Daughter).
AKA – “Wyres Megan.” Welsh, Air (3/4 time). G Major. Standard tuning. AAB. The
tune is said to appear in John “Blind” Parry’s Twelve Airs for one
and two Guitars,
1781 edition, and also his British
Harmony of the same year. Parry (Parri
Ddall, or Blind Parry) was born in about 1710 on Pen Lion, Gaernafonshire,
Wales, blind from birth, and as a child found a patron in the Griffiths family
who initially gave him a Welsh triple harp and support for mastering it. He
later became harpist to Sir Watkin Williams-Wynn at Wynnstay, Ruabon, and where
he perfected his baroque composing. Willams-Lynn periodically brought him to
his residence in London bringing his music and playing to a wider audience. In
fact, his harping was admired by George Frederich Handel (who resided in England
as court composer to George II), and Parry played the great composer’s Concerto
in B flat at Hickford’s Great Room in Brewer Street, Soho. Parry died in 1782.
Edward Jones, Harpist Laureate to George IV, included it in his book The Bardic Museum (1802) under the title
“Wyres Megan.” Harpist Henry Humphreys won the prize of the Silver Harp at the
Welshpool Eisteddford in 1824 for his rendition of this tune. Ludwig van
Beethoven composed music for an art song by this title. Lyrics, translated by
John Oxenford (Cole, Folk Songs of
England, Ireland and Wales, New York, 1961), begin:

***

I see her in my dreams, she trips to me lightly,A welsoch chwi
‘rioed mo Elin merch Megan

With joy on her lips she whispers my name.O gwmpas ei gwaith yn ddiwyd a llon?

MERIWEATHER. Old‑Time, Breakdown. Bobby Fulcher (1986) says the tune only
rarely shows up in traditional Kentucky fiddlers' repertoires, though Clyde
Davenport recorded the tune for County Records in 1986. Bruce Green had the
tune from Jake Phelps, a Kentucky fiddler who was not originally from the
Appalachian part of the state but reather from Purchase, on the western side.
Jeff Titon says the tune is closely related to the Irish “Tom Ward’s Downfall.” County 788, Clyde Davenport (Monticello, Ky.) ‑
"Clydeoscope: Rare and Beautiful Tunes from the Cumberland Plateau"
(1986).

MERLE'S TUNE. AKA – “Liz Carroll’s Reel.” American, Reel. B Dorian. Standard. AABB.
Composed in 1988 by Celtic‑style fiddler Liz Carroll (Chicago) for her
friend Pam Kuras ('Merle'). Paddy (Offaly) O’Brien recorded it soon after as
“Liz Carrol’s Reel” in the key of A Dorian, which fit the B/C box better,
although the low F# note puts it out of range on the fiddle. Frets Magazine, August 1988, pg. 22.

MERMAID, THE (An Mhaighdean Mhara). Irish, Air (3/4 time). D Major.
Standard. One part. "A beautiful mermaid visited a ship by moonlight. The
captain tried to detain her: but she chanted a song that threw captain and crew
into a trance, and so she escaped. 'One of the best of the old northern airs'
{Mr. McKenzie}" (Joyce).

***

O were my men drunk or were my men mad,

Or wre my men drowned in care‑‑O,

When they let her escape, which made us all sad?

And the sailors all wished she was there‑‑O, there,

And the sailors all wished she was there.

***

Cazden (et al, 1982) finds the tune,
with a similar lyric theme, as "The Maid on the Shore" collected in
New York's Catskill Mountains, and said it seemed quite familiar in the
northeastern United States and eastern Canada. The melody is also related to
O'Neill's air "The Sorrowful Maiden."
Source for notated version: Mr. J. M'Kenzie of Newtownards, c. 1879 [Joyce].
Joyce (Old Irish Folk Music and Song),
1909; No. 327, pg. 152. CCF2, Cape Cod Fiddlers –
“Concert Collection II” (1999).

MERMENTAU WALTZ. Cajun, Waltz. USA, southwestern Louisiana. A Major. Standard. One part.
Raymond Francois (1990) identifies this as a relatively modern song originally
recorded by Dunice P. Theriot. Mermentau, an Indian name, is a town in
southwest Louisiana on the banks of the Mermentau River. See also note for "Valse
de Quatre-vingt-dix-neuf Ans." Source for notated version: Barry Cormier
(La.) [Francois]. Francois (Yé Yaille,
Chère!), 1990; pgs. 419-421. Bayou Classics
BC-3000, Dunice P. Theriot.

MERRILY
DANCED/KISSED THE QUAKER('S WIFE). AKA - "Quaker's Wife." AKA and see "The
Legacy," "The
Humours of Last Night," "Blithe Have I Been," "Wilke's Wrigle." Scottish, English;
Jig. Irish, Slide. G Major (Bremner, Gow, Mitchell, Taylor/Tweed): D Major
(Hardie, Johnson, Kerr, Sumner, Sweet). Standard. AB (Hardie): AABB (most
versions): AABBCC (Mitchell, Taylor). A variant of "Merrily Kissed the
Quaker('s Wife)." Phillips Barry, FSSNE, No. 11, pg. 13, traces the tune
back to the 14th century plain‑chant, "on the authority of Wilhelm
Tappert's curious little book Wandernde
Melodien' (Bayard, 1981). Bayard thinks that "Merrily Danced" is
either devolved from "The Mill Mill O"
or that both tunes evolved from a single tune; thus, to him if Barry is right
and one tune stemmed from the late Middle Ages, then logically so does the
other. John Glen (1891) finds the earliest appearance of the melody in print in
Robert Bremner's 1757 Collection of Scots Reels or Country Dances,
and it also early appears in the 1768 Gillespie
Manuscript of Perth. However, an earlier printing can be found in Rutherford’s Choice Collection of Sixty of
the Most Celebrated Country Dances (London, 1750).

***

Francis O’Neill (1922) remarks: “For over a century the name
‘Merrily Kissed the Quaker’ has been associated with a tune or Special Dance in
Ireland, but no song or verse relating thereto has been traced. In O'Farrell's Pocket Companion for the Irish
or Union Pipes (1804-10), we find the tune with name annotated ‘New Sett
Irish’ {ed. note: the ‘New Sett’ tune, given below, appears to be a different
tune or so distorted or distantly related it may be considered a different
tune}. Continuing the investigation we discover that ‘Merrily Dance the Quaker’
(probably the original tune) was printed in No. 7 of Bremer's Collections of Scots Reels, orCountry Dances" issued in 1760. The traditional version
in North Kerry taken from the Rice-Walsh manuscript serves to illustrate how
far a tune may deviate from the original in a few generations.” The title
appears in Henry Robson's list of popular Northumbrian song and dance tunes
("The Northern Minstrel's Budget"), which he published c. 1800.
Merrily Danced the Quaker's Wife is also the name of a rather uncommon Scottish
country dance.

***

The Quaker’s wife sat down to bake

With all her bairns about her.

She made them all a sugar cake,

And the miller he wants his mouter (i.e.
a fee for grinding flour).

Sugar and spice and all things nice,

And all things very good in it,

And then the Quaker sat down to play

A tune upon the spinet.

Merrily danced the Quaker’s wife,

And merrily danced the Quaker

Merrily danced the Quaker’s wife,

And merrily danced the Quaker.

***

The melody was well-known in America
at the time of the War for Independence where it was employed as both a quick
march and dance tune. As a march, it was published in Captain Robert Hinde’s
(1720-1786) Collection of Quick Marches
(Hinde was the author of The Discipline
of the Light-Horse, an authoritative work on the use of light cavalry, and
very influential in the British army). It appears in Henry Beck’s manuscript
copybook for the flue (1786) and (as “So Merrily Danced the Quakers”) in the
music manuscript copybook of Henry Livingston, Jr.Livingston purchased the estate of Locust Grove, Poughkeepsie,
New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd
New York Regiment, which participated in Montgomery’s invasion of Canada in a
failed attempt to wrest Montreal from British control. An important land-owner
in the Hudson Valley, and a member of the powerful Livingston family, Henry was
also a surveyor and real estate speculator, an illustrator and map-maker, and a
Justice of the Peace for Dutchess County. He was also a poet and musician, and
presumably a dancer, as he was elected a Manager for the New York Assembly’s
dancing season of 1774-1775, along with his 3rd cousin, John Jay,
later U.S. Chief Justice of Governor of New York.

MERRY ANNIE. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (in the possession of the Earl of
Ancaster at Drummond Castle), 1734, inscribed "A Collection of the best
Highland Reels written by David Young, W.M. & Accomptant."

MERRY
CONCEIT [1], THE. English, Jig. G Dorian. Standard
tuning. ABB. A ‘merry conceit’ is an in-joke. The melody first appeared in the
third edition of John Playford’s Dancing
Master (1657, reprinted in 1665). It appears as “The New Conceit” in the
next edition of the Dancing Master
(1670) and as “The (A)sparagus Garden” in the 7th edition (1687).
Barlow (Complete Country Dance Tunes from
Playford’s Dancing Master), 1985; No. 126, pg. 40. Sharp (Country Dance Tunes), 1909/1994; pg. 31.

X:1

T:Merry Conceit, The [1]

M:6/8

L:1/8

S:Sharp – Country Dance Tunes(1909)

Z:AK/Fiddler’s Companion

K:G Minor

(B>AG A>Bc | d>cB f2)(c |
fcd cAc | d>cA B3) |

(B>AG A>Bc | d>cB f2)(c |
fcd cAc | d>cA B3 ||

|: (Acf A>GF | Ac2 f2)(A | BGB
d>cB | fga b3) |

bbB d>=e^f | g2d B>AG | AdG
F>=ED | A3 G3 :|

X:2

T:Merry Conceit, The [1]

M:6/4

L:1/8

S:John Playford –Dancing Master (1657)

K:F

B3A G2 A3B c2|d3c B2 f4|c2|f2c2d2
c2A2c2|d3c A2 B6:|

|:A2c2f2 A3GF2|A2 c4 f4 A2|B2G2B2
d3c B2|f2g2a2 b6|

b2b2B2 d3e^f2|g4d2 B3A G2|A2d2G2 F3E
D2|A6 G6:|

MERRY CONCEIT [2], THE.English, Jig. F Major. Standard tuning. AABC. The melody was composed by
dancing master Nathaniel Kynaston (1683-1757). Although very little is known
about him, Kynaston appears to have been active from 1705 to about 1722 in the
Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and
dances over several publications. The Selattyn parish register in Shropshire
records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of
Oswestry” married on August 25th, 1719—although whether this was the
dancing master is unknown. Kynaston appears to have been a not uncommon name in
Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th
century highwayman and Robin Hood figure, who preyed on the wool merchants of
Shrewsbury. Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 83.

MERRY CONCLUSION, THE.AKA
and see “Mr. Kynaston’s
Famous Dance,” “Northern Frisk.” English, Country Dance Tune
(3/2 time). A Minor. Standard tuning. AABBCCDD. The melody was composed by
dancing master Nathaniel Kynaston (1683-1757). Although very little is known
about him, Kynaston appears to have been active from 1705 to about 1722 in the
Shropshire/Wales border area. Walsh published some 120 of Kynaston’s tunes and
dances over several publications. The Selattyn parish register in Shropshire
records that a “Nathanial Kynaston, gent., & Mrs. Elizabeth Davies, both of
Oswestry” married on August 25th, 1719—although whether this was the
dancing master is unknown. Kynaston appears to have been a not uncommon name in
Shropshire, and the family includes Sir Humphrey Kynaston, a notorious 16th
century highwayman and Robin Hood figure, who preyed on the wool merchants of
Shrewsbury. The melody appears in John Walsh’s third collection of Lancashire
tunes (Lancashire Jiggs, Hornpipes,
Joaks, etc.) published around the year 1731. It also appears in the London Magazine, or Gentleman’s Monthly
Intelligencer of 1758 (pg. 93), and in Johnson’s Two Hundred Favourite Country Dances (vol. 8, pg. 33) of the same
year. “Mr. Kynaston’s” (without the “Famous Dance” part) appears as the
alternate title for “The Merry Conclusion” in Walsh’s Twenty Four Country Dances for the year 1716 (pg. 24), a copy of
which is in the Bodleian Library, Oxford. In fact, Walsh published one hundred
and twenty of Kynaston’s tunes and dances in various publications, from 1710 to
1719. “The Merry Conclusion” was also published by John Young in his second
volume of the Dancing Master, third
edition (1718) and fourth edition (1728). Barnes (English Country Dance
Tunes, vol. 2), 2005; pg. 84.

MERRY DANCERS, THE. AKA and see "The Bonny Lass [2].""Ellingham Hall." English,
Scottish; Jig. G Major. Standard tuning. AABBCC. The John Glen (1891) finds the
earliest appearance of a melody by this name in print in Scottish collections
in Robert Bremner's 1757 collection,
though in also appears in the Gillespie
Manuscript of Perth, 1768. As might be surmised the title "The Merry
Dance" or "The Merry Dancers" was a popular one in country dance
literature and many dances and tunes can be found with this name in England,
Scotland and America. One American dance with this title is included in Clement
Weeks' dance MS (Greenland, New Hampshire, 1783). See also “Ryan’s Rant.” Bremner (Scots Reels), c. 1757; pg. 94. Thompson (Compleat
Collection of 200 Favourite Country Dances, vol. 1), 1757; No. 181.

MERRY GIRLS OF BRISTOL, THE.English, Country Dance Tune (2/4). G Major. Standard tuning. First
published in Thompson’s Compleat
Collection of 200 Favourite Country Dances (vol. 4, 1780). It also appears
in the music manuscript collection of Somerset shoemaker and fiddler William
Winter (1774-1861)

MERRY GIRLS OF EPSOM.English, Jig. B Flat Major. Standard tuning. AABB. The melody was first
printed in John Johnson’s Choice Collection of 200 Country Dances, vol.
6 (London, 1751), followed by appearances in David Rutherford’s Compleat
Collection of 200 of the Most Celebrated Country Dances (London, 1756) and
Charles and Samuel Thompson’s Compleat Collection (London, 1757). The
title honors the female inhabitants of Epsom in Surrey, England, south east of
London. The town was famous as a spa resort in the 18th century, and
for a race course and assembly rooms that attracted many of the city gentry to
visit the country. Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 1), 1757; No. 3.

MERRY GIRLS OF MAIDSTONE.English, Jig. G Major. Standard tuning. AABB. The melody and dance
instructions first appear in John Hinton’s periodical Universal Magazine of
Knowledge and Pleasure (London, 1755). The tune also appears in John
Johnson’s 200 Favourite Country Dances, vol. 8 (London, 1758). Maidstone
is the county town of Kent, 32 miles southeast of London, on the river Medway.
Thompson (Compleat Collection of 200 Favourite Country Dances, vol. 1),
1757; No. 118.

MERRY GIRLS OF NEW YORK. American, Country Dance Tune (cut
time). A Major. Standard tuning. AABB. The tune appears in the private (loose)
manuscripts of the American painter William Sydney Mount, who was also a
fiddler and much interested in the popular music of his day.Alongside the tune in his manuscript reads
the note: “Composed by T. Ntt(?).” At the top of the manuscript pate is the
date: “Stony Brook (Long Island, New York), Jan. 7th, 1849.”

X:1

T:Merry Girls of New York

M:C|

L:1/8

S:William Sydney Mount manuscripts

N: Alongside the tune in his
manuscript reads the note: “Composed by T. Ntt.” At the top

MERRY GIRLS OF YORK, THE. AKA and see "Harrogate Lodge." English, Country
Dance Tune (6/8 time). B Flat Major (McGlashan): D Major (Aird): B Flat Major
(Aird). Standard tuning. AABB. The title perhaps refers to the young ladies who
frequented the Assembly Rooms near York Minster, built in 1730 for the 3rd
Earl of Burlington in the Palladian neo-classical style. They featured elegant
interiors and sumptuous decoration, and were a center of social life in the 18th
century. The melody appears in a few late 18th century published
collections and musicians’ manuscripts from lowland Scotland. It was included
in Alexander McGlashan'sA Collection of Scots' Measures, Hornpipes,
&c. (Edinburgh, c. 1780), with the caption “Danc’d by Aldridge,”
referring to a famous dancer who graced the English popular stage in the latter
18th century.In addition to
James Aird’s printing (see below), “Merry Girls…” also appears in Neil
Stewart’s Select Collection of Scots,
English, Irish and Foreign Airs, Jiggs & Marches (1788, pg. 100). In
Hodsall's Country Dances for 1810 the melody is called "Harrogate
Lodge." “Merry Girls of York” appears in the music copybook, dated 1801,
of John Beach, of Gloucester, Massachusetts, who appears to have arranged music
for bands. Aird (Selections of Scotch, English, Irish and Foreign Airs), vol. II,
1782; No. 88, pg. 32 & No. 89, pg. 33. Kidson (Old English Country Dances), 1890; pg. 17. McGlashan (Collection of Scots Measures), c. 1780;
pg. 16.

MERRY JACK.English, Reel. D Major.
Standard tuning. AABB. A ‘merry jack’ is a children’s toy, sometimes known as
‘monkey-up-a-stick’, although its connection with the title, if any, is
unknown. This melody, like many in Charles and Samuel Thompson’s 1757
collection, first appears in John Johnson’s 200 Favourite Country Dances,
vol. 7 (London, 1756). Thompson (Compleat Collection of 200 Favourite
Country Dances, vol. 1), 1757; No. 90.

MERRY MAKING, THE (A' Chridhealachd). Scottish, Pipe Reel. F Major.
Standard tuning. AABCCD (Cranford/Holland): AABB'CCD (Fraser,
Stewart-Robertson). "The Highlands of Banffshire, extending south of the
Spey, have been long famous for the best dancers of the strathspeys, which must
have been well performed to inspire them sufficiently. In this district also
lie the most picturesque scenery, the finest sporting grounds and deer forests,
perhaps in Great Britain, belonging to the Duke of Gordon, Earl of Fife,
&c., long inaccessible to strangers, from the badness of the roads, and
want of bridges. (This tune) is one of the pipe‑reels referred to in Note
13" (Fraser). Emmerson (1971) suggests the tune may have been written for
a bellows‑pipe ("they have the staccato characteristics of the
'closed' chanter"), like the Irish Union pipes or the Northumbrian small‑pipes,
which were known in the Highlands and the Isles before the 18th century.
Cranford (Jerry Holland: The Second Collection), 2000; No. 175, pg. 66.
Emmerson (Rantin’ Pipe and Tremblin’
String), 1971; No. 46, pg. 138. Fraser (The
Airs and Melodies Peculiar to the Highlands of Scotland and the Isles),
1874; No. 36, pg. 12. Stewart-Robertson
(The Athole Collection), 1884; pg.
231.Culburnie COL
113D, Aladair Fraser & Tony McManus – “Return to Kintail” (1999).

GA |
B3c (BAGF) | E3F G2A2 | B3c d2 cB | e4 A2 GA | B3c BAGF |

E3F
G2A2 | B2g2f2g2 | e4 E2 :: B2 | e3f g2d2 | Bc d2G2B2 | A3B c3d |

e4A2dc
| B3c BAGF | E3F G2A2 | B2 g2f2g2 | e4 E2 :|

MERRY MAY THE PAIR BE (Gu ma mear a charaid). Scottish, Reel. A Major. Standard
tuning. AA'B. "These two (with "Huntly's Wedding Medley")
form a medley, in high request, from the occasion which gave rise to them. It
may readily be remembered that it was not only where Huntly's wedding took
place it fell to be celebrated,‑‑many gentlemen interested in the
prosperity of his framily, assembled their friends, and celebrated this wedding
ideally at their own homes,‑‑others entertained their tenantry
round a bonfire, with Highland cheer, and dancing to the bag‑pipe,‑‑Lovat,
in particular, had bonfires on all his hills. Indeed, where all were so anxious
to testify their respectful attachment to this amiable noblemen, it is
impossible to discriminate. Let the editor's mite be permitted to commemorate
it" (Fraser). Fraser (The Airs and
Melodies Peculiar to the Highlands of Scotland and the Isles), 1874; No.
100, pg. 38. Kerr (Merry Melodies),
vol. 3; No. 102, pg. 13. Stewart-Robertson
(The Athole Collection), 1884; pg.
26.

MERRY MEN
HOME FROM THE GRAVE. English?, Quickstep March (6/8 time). G
Major. Standard tuning (fiddle). AABB. The tune was used in the early 19th
century (if not before) as a quickstep used in returning from a funeral. The
melody appears in Bruce and Emmett’s
Drummers’ and Fifers’ Guide, published in 1862 to help codify and train the
hordes of new musicians needed for Union Army service early in the American Civil
War. Therein it is directed: “After having deposited the body in its final
resting place, and the Escort having fired the customary salute over the grave,
the musicians will not play again until outside the enclosure,--when they will
strike up a lively air; the ‘Merry Men Home from the Grave’ being considered
the most appropriate.” George Bruce was a drum major in the New York National
Guard, 7th Regiment, and had served in the United States Army as
principal drum instructor at the installation at Governor’s Island in New York
harbor. Emmett was none-other than Daniel Decatur Emmett, a principal figure in
the mid-19th century minstrel craze and composer of “Dixie”
(ironically turned into a Confederate anthem during the war) and “Old Dan
Tucker,” among other favorites. Emmett had been a fifer for the 6th
U.S. Infantry in the mid-1850’s. Bruce & Emmett’s Drummers’ and
Fifers’ Guide,
1862; p. 52.

MERRY MERCHANT [2], THE (An Ceannaide Sugac). AKA and see "Bright Sun's Glorious Ray,"
"Canny Sugach," "Jolly Merchant," "The Merchant's Daughter," "Who'll Buy My Besoms,"
"World is Turned Upside Down." Irish, March (4/4 time). D Major.
Standard tuning. AB. O’Neill (1913) states there was a special dance performed
to this melody which required particular agility; “for nothing more
complimentary could be said of a young man’s activity than to remark ‘he could
dance the Canny Sugach.” A rollicking
song was also sung to the air at least as late as the middle of the 19th
century (O’Neill, 1913). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 1843, pg. 347. O'Neill (Dance Music of Ireland: 1001 Gems), 1907/1986; No. 993, pg. 171.
O’Neill (1913), pg. 430.

MERRY
OLD WOMAN [3], THE. AKA and see “Humours of Bandon,” “Humours of Listivain,” “The Jolly Old Woman,” “Plangsty
Callagh,” “Terry’s Rambles,” “(An) tSeanbhean Sultmhar.” Irish,
Jig. B Minor. Standard tuning. AB. As “The Humours of Listivain” it appears in
Jackson’s Celebrated Irish Tunes (c. 1775), a collection from the famous 18th
century gentleman piper Walker ‘Piper’ Jackson of the townland of Lisduan in
the parish of Ballingarry, Aughrim, County Limerick. However, it appears the
tune is older than this, for as “The Humours of Bandon” it was known as far
back as 1690 when the Irish (who had learned it from the supporters of William
III) played it when they sacked Kilbrogan (Winstock, 1970, pg. 26).
Stanford/Petrie (Complete Collection), 1905; No. 356, pg. 90.

MERRY PRIEST, THE. AKA and see “James
Gannon’s (Barndance) [2].” Irish, Barn Dance. G Major. Standard tuning. AA’BB’.
See note under the alternate title for more on this tune, popularized by Sligo
fiddler Michael Coleman. Reavy (The Music of Corktown).

MERRY WAKEFIELD. AKA and see "The Shipwreck [2]." English, Slip
Jig? Old Hornpipe? (9/8 time). G Major. Standard tuning. AABB. Kidson (1890)
notes the epithet 'Merry' has been applied to the Yorkshire town of Wakefield
"from time immemorial, and there are many very old songs in which this
term is used." The melody is from David Rutherford's Complete
Collection of 200 of the Most Celebrated Country Dances (London, 1756, pg.
34), although earlier published in Merry Medley (1744), and, even earlier, in
Walsh’s Caledonian Country Dances, vol. 3 (c. 1740). Later in the 18th
century it was published in Longman and Broderip’s Compleat Collection of
200 Favorite Country Dances (London, 1781, pg. 54). It appears in the 1790
music manuscript copybook of Thomas Hammersley, a London musician, the 1770
copybook of William Clarke (Lincoln), the late 18th century copybook
of Thomas Watts (Peak Forest, Derbyshire), and in the 1770 music manuscript
book of Northumbrian musician William Vickers (where is appears as “The
Shipwreck”). In America “Merry Wakefield” shows up in the 1782 music
commonplace book of Jeremiah Brown, a musician from Seabrook, on New
Hampshire’s coast. Ashton & Dyson, 1985; pg. 10. Callaghan (Hardcore
English), 2007; pg. 81. Kidson (Old English Country Dances), 1890;
pg. 16. Seattle (William Vickers), 1987, Part 3; No. 316.

MERRY WIVES (HIGHLAND), THE. Irish, Highland (cut time). C
Major. Standard tuning. AB. The tune is printed in Ed Reavy's collected works
and is claimed by him, however, Caoimhin Mac Aoidh (1994) finds it identical to
a Donegal reel entitled "An
Baintreach Mna," learned by the late fiddler Francie Dearg O'Byrne
as a boy from the playing of his father (in the key of D Major). See also the
reel settings “Limerick Lasses
[2]" and “Con
McGinley’s.” Mick Brown
(commenting on the Irtrad list on Sept. 2nd, 1999) is of the opinion
that Reavy based “Merry Wives” on “Con McGinley’s,” an “indeed its similarity
with the Glencolmcille (Donegal) setting would suggest Paddy Bhillí na Rópaí as
a possible source (Reavy mentions him elsewhere as 'Pat Boyle').” Reavy (The Collected Compositions
of Ed Reavy), No. 123, pg. 137.

MESSE, LE. Scottish, Violin Solo or Polka (2/4
time). A Major ('A', 'B' & 'C' parts) & D Major ('Trio'). Standard
tuning. AABCCDD (the 'D' part is a trio). Composed by Scottish fiddler J. Scott Skinner and published in 1904 in his Harp and
Claymore collection, with the note: “The finest Violin in the world. Now the
property of Mr. Crawford, Trinity, Leith, who purchased it for ₤2,000.”
The melody was dedicated "To A.W" in the Scottish Violinist.
The tune features pizzicato runs. Caoimhin Mac Aodh reports the tune was in the
repertoire of Donegal fiddler John Doherty as “The Postman’s Knock [2].”
Hardie (Caledonian Companion), 1992; pgs. 132‑133. Skinner (The
Scottish Violinist, with variations), pg. 47.

MESSER'S MEMORIAL WALTZ. Canadian; Waltz. F Major. Standard
tuning. Composed by Sarnia, southwestern Ontario, fiddler John(ny) Durocher
(1934-1989), the night Canadian radio and TV fiddler Don Messer died (according
to Ron Ritchie). Messer had recorded and popularized many of Durocher’s
compositions. The waltz has some modern currency at Canadian fiddle contests.
Durocher was born the youngest of sixteen children, to a modest family of few
resources. He quit school in his young teens to help make family ends meet and
remained a factory worker for most of his life, not even possessing a drivers
license. John came to fiddling when he found a broken fiddle in the trash one
day and asked the owner for permission to retrieve it; with some repair work he
had his first instrument. A few lessons from a local teacher (which served to
teach him how to read and write music), were all the formal music education
John received. He was a prolific composer of fiddle tunes, however, and named
them for sports and current events, family and friends and topics of his day,
explains Ritchie. Durocher’s music was picked up by radio fiddler Don Messer,
who included many of his tunes in his broadcasts and printed collections,
helping Durocher to become quite influential in the Ontario scene for his over
400 compositions. [For more see Ron Ritchie, “John Durocher: A Gifted
Composer,” Fiddler Magazine, vol. 12, No. 2, Summer 2005, pgs. 25-27]. Missouri State Old Time Fiddlers Association 001, Pete
McMahan ‑ "Ozark Mountain Waltz."

METACOMET’S MARCH.American, March (4/4 time). G Major. Standard tuning. AB. Composed by
Alstead, New Hampshire, fiddler Randy Miller, in honor of the notable 17th
century Native-American war chief or sachem of the Wampanoag, Metacomet (c.
1639-1676), also known as King Phillip. Miller (Fiddler’s Throne), 2004;
No. 248, pg. 204.

MHAIREAD OG, A (Young Margaret). AKA and see "Oran An Amadain
Bhoidheich" (Song of the Handsome Fool). Scottish, Air (3/4 time). G
Major. Standard tuning. AA. The gaelic words, which may have been the
composition of Domhnall Donn (Brown Donald), relate a tale common in folklore
of a young man who inadvertently kills his sweetheart while she is bathing,
mistaking her for a duck. A similar story is the basis for the ballet
"Swan Lake." Neil (The Scots Fiddle), 1991; No. 154, pg. 199.

MHÀIRI BHÀN ÒG [1], A (“Fair Young Mary”
or “Mary Young and Fair”).AKA-
“Mary Young and Fair.” Scottish, Slow Air (6/8 time). A Minor. Standard tuning.
AAB. The tune is the opening to a Gaelic love song written by the celebrated
poet Duncan Ban MacIntyre (b. Glenorchy, Argyllshire, 1724) in honor of his
wife. The air is traditional, one of the many variants of “Gilderoy,” but (according to Simon
Fraser) words were written by MacIntyre. MacIntyre was “a Breadalbane man, who
published a volume of Gaelic songs; the air was previously known, as sung by
the gentlemen alluded to in the prospectus" (Fraser). John Purser says the
air is one of the most famous of all Scottish Gaelic love-songs (adding that in
addition to her youth and pulchritude, Mary brought talents as a fine whiskey
distiller to the union). Emmerson (1971) says this "well‑known and
beautiful air" has the character of the ancient 'ports' of the harper's
repertoire. Martin (2002) says the tune is popular both as a fiddle and pipe
solo, and that many versions exist, including one in the Patrick McDonald
Collection (1784). Fraser (The Airs and Melodies Peculiar to the Highlands
of Scotland and the Isles), 1874; No. 47, pg. 17. Kerr (Merry Melodies),
vol. 1; No. 22, pg. 49. Martin (Traditional Scottish Fiddling), 2002;
pg. 60. Neil (The Scots Fiddle), 1991; No. 157, pg. 203.Redwing Music RWMCD 5410,
Abby Newton – “Castles, Kirks and Caves” (2001).

MICHAEL CARNEY’S REEL (Ril Mhichil Ui
Cheithearnaigh).
AKA and see “The Peeler’s Jacket
[5].” Irish, Reel. Carney was an uilleann piper who recorded the tune
(as “The Peeler’s Jacket”) in duet with famed Sligo fiddler James Morrison.
Carney gave Morrison lodging when the fiddler arrived in New York, an émigré
from Ireland. When Clare piper Willie Clancy recorded the reel on 78 RPM in the
1950’s he called it “Michael Carney’s Reel,” although later he began calling it
“The Ravelled Hank of Yarn
[1].” Gael-Linn CE 14 (78 RPM), Liam (Willie)
Clancy.

MICHAEL COLEMAN’S (WALTZ). Irish, Waltz. The tune is called “Michael
Coleman’s” on Seamus Tansey and Joe Sheridan’s Outlet LP entitled “Sligo
Ceili,” although the great Sligo-born fiddler Michael Coleman did not record
the tune commercially, says Philippe Varlet. It appears as “Kevin’s Viennese”
on Joe Ryan & Eddie Clarke’s album “Crossroads.” Jim Coogan reports the
tune was a great favorite of box player Joe Mills’, who called it “Diablo.”

MICHAEL GORMAN’S. AKA and see “Tipperary Hills.” Irish, Hop Jig.
The tune is an idiosyncratic rendering of the slip jig “Tipperary Hills.”
Gorman plays it in 9/8 time, although with a similar rhythm to a single jig,
the result giving the feeling of a ¾ tune, like a mazurka. Green Linnett, SIF 3005, Bothy Band - “Old Hag You Have
Killed Me” (Probably called Michael Gorman’s after the 1956 recording of the
tune by Gorman on Folkways FW 6819, “Irish Jigs, Reels & Hornpipes”
{1956}).

MICHAEL O'CONNOR [1]. Irish Planxty ('A' and 'B' parts in
cut time, 'C' and 'D' parts in jig time). C Major. Standard tuning. ABCD.
Composed by Turlough O'Carolan (1670-1738). The jig section of the tune became
detached at some point and was collection by Petrie, appearing both in his
volume and the Stanford edition of Petrie’s work (No. 99, appearing untitled
and un-attributed). Donal O’Sullivan could find no pedigree of a Michael
O’Connor in either of the O’Connor families familiar to Carolan (the O’Conors
of Belanagare, and the O’Connors of Offaly). He did find a reference to a
Michael O’Connor in one of harper Charles O’Conor’s diaries following a poem in
praise of his mother, which was attributed to “Michél O Conchubhair cct. 1728.”
O’Sullivan suggests that the author of the poem may have been the subject of
Carolan’s compositions bearing his name.Complete Collection of Carolan's
Irish Tunes, 1984; No. 120, pg. 87. O’Sullivan (Carolan: The Life, Times
and Music of an Irish Harper), 1958; No. 120, pg. 165.

MICHAEL O'CONNOR [2]. AKA and see "Michael Ward." Irish, Planxty. D Minor.
Standard tuning. AB. A second air to the patron, composed by Turlough O'Carolan
(1670-1738). P.W. Joyce (Old Irish Folk Music and Songs, 1909) prints
the tune with the primary title “Michael Ward,” imported from the Forde
collection, ultimately sourced to Carey’s manuscript. Donal Sullivan (1958)
believes the ‘Ward’ title is probably incorrect because it appears in John
Lee’s published collection of Carolan tunes (Dublin, 1780) as “Mr. Mich.
Connor.” Complete Collection of Carolan's
Irish Tunes, 1984; No. 121, pg. 88. O’Sullivan (Carolan: The Life, Times
and Music of an Irish Harper), 1958; No. 121, pg. 166.

MICHAEL RELIHAN’S. AKA and see “The Dream of Home,” “Maid in the Meadow [2]."
Irish, Reel. D Major. Standard tuning. AAB. Maire O’Keeffe (in liner notes to
“The Smoky Chimney”) reports that this tune was a great favorite of fiddle and
concertina player John Kelly (Sr.) Of Kilbaha, near Loop Head, West Clare. The
tune was recorded by Brendan Breathnach from the playing of Listowel, County
Kerry, fiddler Tom Barrett, who called it “Mick Relihan’s,” and the tune is
attributed to Relihan in Treoir (vol.
2, No. 4). Spin CD1001, Eoghan O'Sullivan, Gerry
Harrington, and Paul de Grae - “The Smoky Chimney” (1996).

MICHAEL TURNER'S WALTZ. English, Waltz. England, Sussex. G
Major. Standard tuning. Paul Davenport (English
Dance and Song, 2003) identified this unnamed tune as derived from a
portion of a 1788 suite by none-other than Austrian composer Wolfgang Amadeus
Mozart, contained in Austrian Dances
KV 536 No. 2 (the second, or trio part) in G Major. The English waltz is
credited to Michael
Turner (1796-1885), who adapted the melody and set it down in his
1842-52 manuscript, though it is clearly based on the Mozart original. It was
also published in Canfield’s Choice
Collection of Flue Melodies (1823), according to Barry Callaghan (2007).
Turner was for fifty years a Parish Clerk, Sexton and choir leader of a church
in Warnham, Sussex. His gravestone reads:

***

His duty done, beneath this stone

Old Michael lies at rest

His rustic rig, his song, his jig

Were ever of the best.

With nodding head the choir he led

That none should start too soon,

The second he sang full true

His viol played the tune

And
when at last his age had passed

One hundred—less eleven,

With faithful cling to fiddle string

He sang himself to heaven.

***

Dave Shepherd, fiddle player for the
group Blowzabella, came up with a setting of “Michael Turner’s Waltz” in 5/4
time (!). The melody was employed as the air for a hymn in America, called
“When He Cometh.”

MICHAEL WARD. AKA – “Michael O’Connor.” Irish, Slow Air (4/4 time). E Minor. Standard
tuning. AB. "By Carolan" (Joyce). Source for notated version:
"...copied from a MS. lent to him by Patrick Carey a piper of the Co.
Cork; who, I believe, is the same as Patrick Carew whom Petrie often mentions
in his 'Ancient Music of Ireland'" (Joyce). Joyce (Old Irish Folk Music and Song), 1909;
No. 448, pgs. 251‑252.

X:1

T:Michael
Ward

T:Michael
O’Connor

M:C

L:1/8

R:Air

N:”Slow”

B:Joyce – Old
Irish Folk Music and Songs, No. 448 (1909)

Z:AK/Fiddler’s
Companion

K:Emin

D|E2 EF G2 AB|cBAG F>E D2|e2 dB
c2BA|GFGA B4|

EFGA BABG|AGAF GFGE|d2G2d2B2|bagf
g4|

f2 Bg f2d2|edef d2B2|BAGF G2A2|B4
z2||fa|bagb agfa|

g2 fe dBdB|g2 g/a/b GBGB|A2B2 e4|g2
f/g/a gdBd|gdga bc’ba|

g2 fe deBA|GFGA B4|E2 EF GFGE|FEFG
AGAF|GFGA BABG|

A2B2 c4|B2 eB cBAc|BAGB A2 GF|GFEG
FEDF|B2 [B,2B2] E4||

MICHAEL WIGGINS. English, Jig. D Major. Standard tuning. AABB.
The melody was printed in a variety of early 19th century
publications (listed at Early American
Secular Music and Its European Sources), including Carr’s Pocket Companion (Baltimore, c. 1800), Graupner’s A Collection of County Dances and Cotillions
(Boston, c. 1808), Willig’s Collection of
Popular Country Dances, No. 4 (Philadelphia, c. 1812), Riley’s Flute Melodies 1 (New York, 1814), and J. & G. Balls’ The Gentleman’s Amusement, Book 3
(London, 1815).The melody is a
different one than "Michael Wiggins in Ireland." Raven (English Country Dance Tunes), 1984; pg.
127.

X:1

T:Michael Wiggins

M:6/8

L:1/8

R:Jig

K:D

A|f2f fed|cBA A2A|f2f fed|g(e2
e2)A|f2f fed|dcB AFA|

Bcd cde|f(d2 d2)::d/c/|dBA ^GBd|ecB
Ace|fdB ^Ged|

c(e2 e2)e|a2e a2e|aec Ace|fdB
^Ged|c(A2 A2):|

MICHAEL WIGGINS IN IRELAND.English, Jig. England, Yorkshire. C Major
(Hardings): D Major (Merryweather & Seattle). Standard tuning. One part
(Hardings): AABBCC (Merryweather & Seattle). The melody was printed in The Gentlemens Amusement No. 2 in New
York c. 1812. Perhaps the “…in Ireland” part of the title parallels the
“Morgiana” tunes (e.g. “Morgiana” and “Morgiana in Ireland” with “Michael
Wiggins” and “Michael Wiggins in Ireland.” Instructions for a dance called
Michael Wiggins in Ireland were printed in dancing master T. Wilson’s The Treasures of Terpsichore; or, A
companion for the ballroom (London, 1816). The tune appears in the music
manuscript book of William Tildesley, Swinton, Lancashire, dating from the
1860’s, and a similar tune likewise appears in John Clare’s (Northants)
manuscript under the title “Micheal Wiggens.” Source for notated version: an MS
collection by fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire)
[Merryweather & Seattle]. Harding’s
All-Round Collection, 1905; No. 19, pg. 6. Merryweather & Seattle (The Fiddle of Helperby), 1994; No. 71,
pg. 46.

MICHEÁL CARR’S BARNDANCE. Irish, Barndance (cut time). D
Major: G Major (Cranford/Holland). Standard tuning. AABB (Cranford/Holland):
AA’BB. A popular barndance melody in County Donegal, from the playing of James
Byrne and others. Micheál Carr, a fiddle and accordion player in Donegal,
learned this and other barndances from his father, Mick Carr. Source for
notated version: Donegal fiddler Máire O’Keeffe, who associates the tune with
the playing of Danny O’Donnell (Meenafanad, the Rosses, Co. Donegal) [Cranford/Holland].
Cranford (Jerry Holland: The Second Collection), 2000; No. 124, pg.
47.

MICK FINN’S. AKA and see “Cill Abhaill,” “The
Farewell Reel,” “The
Killavil Reel [1],” “Tilly Finn’s.”Irish, Reel. D Major. Standard tuning.
AA’BB’. Mick Finn is the name of a late fiddler from County Galway. However,
‘Mick’ was also the nickname of Michael Finn, father of famous Sligo fiddler
Fred Finn, both from Killavil, Sligo. Given the connection with the alternate
title (“Killavil Reel”) it is likely the title refers to the Sligo Finn, not
the Galway fiddler. Miller (Fiddler’s
Throne), 2004; No. 211, pg. 131. Green Linnet SIF
3018, “Molloy, Brady, and Peoples” (1985).

MICKY CONNELL’S HORNPIPE (Cornphíopa Mhicí Uí
Chonaill). AKA
and see “Billy Taylor’s Fancy.”
Irish, Hornpipe. G Major. Standard. AABB. O’Neill prints a version as “Billy
Taylor’s Fancy,” and the melody appears twice in the Goodman manuscripts at “The Man of War Hornpipe” and “Constantine Hornpipe.” Source
for notated version: from a manuscript attributed to the Pigott family, County
Kerry, in which it appeared as an untitled tune. Breathnach found the tune and
the title in another manuscript in his collection [Breathnach]. Breathnach (CRÉ V), 1999; No. 216, pg. 105.

MICKY QUINN’S.Irish,
Jig. Patty Furlong – “Traditional Irish Music on the
Button Accordion” (1999. Learned from Bronx flute player Jack Coen, who played
the tune paired with “Humors of Ballingarry” with the late Paddy O’Brien from
Tipperary).

MICKEY RATTLEY’S FANCY. Irish, Reel. G Major. Standard
tuning. AA’B. Source for notated version: the Rice-Walsh manyscript, a
collection of music from the repertoire of Jeremiah Breen, a blind fiddler from
North Kerry, notated by his student [O’Neill]. O’Neill (Waifs and Strays of Gaelic Melody), 1922; No. 282.

MICHO RUSSELL’S JIG [1]. AKA and see “Timmy Clifford’s.” Irish, Double
Jig. G Major. Standard tuning. Doolin, County Clare, tin whistle player
Russell’s first name is sometimes spelled Micho and other times appears as
Micko. It is a setting of “The Munster
Lass.” The tune was learned by fiddler Gerry Harrington from Chicago
musician John Williams (states the liner notes to The Smoky Chimney), who
himself had the tunes from Micho Russell. Sean Cleland, however, says that
Williams learned the jig from his father Brendan, a concertina player, who had
learned it from Timmy Clifford (active in Chicago sessions off and on since the
early 1980’s). Spin CD1001, Eoghan O’Sullivan, Gerry
Harrington, Paul De Grae - “The Smoky Chimney” (1996). Shanachie 78002, “Solas”
(appears as “Timmy Clifford’s”).

MICKO RUSSEL(L)’S REEL [1]. AKA and see “Carthy’s Reel,” “Carty’s Reel.” Irish, Reel. E Dorian.
Standard tuning. AAB (Sullivan): AABB (Mulvihill). A variant of “The
Ashplant” and the only known composition of Doolin, County Clare, tin whistle
player Micho Russell (1915-1944). It is commonly known as “Micho Russell’s
Reel” although, according to Charlie Piggott (Blooming Meadows, 1998), Russell
himself called it “Carthy’s Reel.”The
tin-whistle player, known for his weaving stories, lore and associations into
his music, and not above some purposeful playing with the tradition, said he
had long ago learned it from an old man named Carthy. “At the time there used
to be such a thing on the Aran Island called a Pattern Day (June 14th).
People from here used to go over in curraghs. An awful lot used to come up from
Galway, pipers and others, with different classes of instruments. So Carthy was
beyond anyway and he heard the old tune from a piper playing it and he had the
first part but only three-quarters of thesecond part. So when Séamus Ennis came around collecting the music, I
put in the last bit. That’s roughly the story of the tune.” Russell won the
All-Ireland Tin Whistle championship at the age of 58. Source for notated version: flute and whistle
player Micho Russell, 1966 (Doolin, Co. Clare, Ireland) [Breathnach].
Breathnach (CRÉ II), 1976; No. 294,
pg. 149 (appears as “Carty’s Reel.” Source for notated version: Tony Smith
(County Cavan & Dublin) [Mulvihill]. Mulvihill (1st Collection), 1986; Nos. 148 & 149, pgs. 40 &
41 (two settings). Sullivan (Session
Tunes), vol. 3; No. 51, pg. 21.

MICHO RUSSELL’S (REEL) [5].AKA and see “The Flurry Reel,”
“The Sporting Days of Easter
[2].” Irish, Reel. D Mixolydian. Standard tuning. “Micho Russell’s” was
the title used by Arty McGlynn on his album “Lead the Knave.” Russell was
Brendan Breathnach’s source for the same melody in his CRÉ II, where it was printed under the title “The Sporting Days of
Easter.”

MICKY CHEWING BUBBLEGUM. AKA and see “Bill Sullivan’s,” “Denis Murphy’s (Polka).”
Irish, Polka. D Major. Standard tuning. AABB. Composed by the late Terry
"Cuz" Teahan as a youngster prior to leaving Ireland for America.
Philippe Varlet says that Teahan composed the tune while still taking lessons
with the great Sliabh Luachra fiddler Padraig O’Keeffe.O’Keeffe liked the composition and continued
to teach it after Teahan’s departure, and it eventually circulated among local
musicians; hence the name “Bill Sullivan’s” after a local player (by which
title it appears on the Jackie Daly & Seamus Creagh album {CEF 057}).
Vallely (Learn to Play the Fiddle with
the Armagh Pipers Club); 24. Wild Goose WGS 320,
Old Swan Band – “Swan-Upmanship” (2004).

X:1

T:Micky Chewing
Bubblegum

M:2/4

L:1/8

R:Polka

K:D

a2 a>f|ec a>f|ec
a>g|ec (3B/c/B/A|a2 a>f|ec a2|

ce BB/c/|1 BA A2:|2 BA
AB||:ce ec|df fd|ce eA/B/|

cB BA/B/|ce ec|df f2|ec
B>c|1 BA AB:|2 BA A2||

MICKY“CUMBAW” O’SULLIVAN’S. Irish, Air. Sean Keane says his
version of the air is an adaptation by Kerry musician Cumbaw who claimed to be
the personal piper to one of the founding fathers of modern Ireland, Daniel
O’Connell. Before he died the piper was recorded on a primitive recording
machine, but evidently was not impressed. The tune is derived from “Máirseáil
Alasdroim” (Alastair’s March—see note for “MacAlisdrum’s March”). Claddagh CC17, Seán Keane ‑ "Gusty's
Frolics" (1975).